'It's a Mad, Mad, Mad, Mad World' - High-Def Digest Review - High-Def Digest Forums
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Old 01-23-2014, 06:54 PM
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Default 'It's a Mad, Mad, Mad, Mad World' - High-Def Digest Review

Michael S. Palmer has just reviewed 'It's a Mad, Mad, Mad, Mad World.' He says this is a hilarious time capsule of early '60s comedy/cinema. This Criterion Blu-ray features two HD cuts of the film. With excellent video, sound, and extras, this is a must own for fans and
highly recommended for everyone else.

Full review here:
http://bluray.highdefdigest.com/5492/mmmm_world.html
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Old 01-23-2014, 07:45 PM
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This is one of those movies I've always heard great things about, but never bothered to catch up with...Michael's review just put this on my must-own list. Looking forward to this release.
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Old 01-23-2014, 09:29 PM
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It may not be a "great" movie, but I always have a great time watching it. I enjoyed Criterion's attempt to represent the roadshow version, picture issues aside.

One of my favorite visual gags is Sid Caesar looking down from the junky old biplane and seeing the cars below driving faster than the plane's shadow. I also love the look on Milton Berle's face when Ethel Merman picks up the cactus and asks, "Where should I put this?"
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Old 01-23-2014, 10:04 PM
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I really enjoyed it... I watched it after loving Rat Race (don't hate me!), and heard that it was loosely based on this!

I agree with tomandshell that it is not "great", but still pretty good, especially for its time, and does present a genre that I find sadly lacking these days.

Will get this when its on sale, as I don't know that I liked it enough for full-retail, but definitely want to see Criterions restoration!
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Old 01-23-2014, 10:45 PM
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Not to be too picky, but I do suspect Robert A. Harris was involved with this and not his much lesser known doppelganger Richard
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Old 01-23-2014, 10:59 PM
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Dick Shawn was hilarious in this movie! Fun film.
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Old 01-24-2014, 08:06 AM
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I absolutely LOVE this movie and am almost considering buying it for the $29.99 price on Amazon.
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Old 01-24-2014, 10:03 AM
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Haven't seen this since I was a kid, but according to the glow review I must get this.

I would buy it now and pay the extra $5.00 more (which isn't much) than what it would cost during a half off sale, but I've just stocked up on Criterion and can wait until the next B&N/Amazon sale.

What I don't get, is people criticizing Criterion for not giving a "heads up" for the incomplete Road Show version, but that's basically an extra AFAIC. And when you add up all those extras plus that fact that the main feature is gorgeous, it's an great value and no one should complain.
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Old 01-24-2014, 12:50 PM
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Somebody got some information wrong along the way - IAMMMMW was not shot in 30 fps. Whoever said that on the panel was confusing Ultra Panavision with the original Todd-AO format, which was 30 fps. OKLAHOMA!, for one, used Todd-AO and is 30 fps.
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Old 01-24-2014, 03:01 PM
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Quote:
Originally Posted by Moleman X View Post
Somebody got some information wrong along the way - IAMMMMW was not shot in 30 fps. Whoever said that on the panel was confusing Ultra Panavision with the original Todd-AO format, which was 30 fps. OKLAHOMA!, for one, used Todd-AO and is 30 fps.
Indeed.

As far as I know, there were only two 70mm large format narrative features ever shot @ 30 frames per second: Oklahoma! and Around the World in 80 Days. Both were produced in Mike Todd's spherical 65/70mm TODD-AO process, which was initially conceived as a 30fps format, to further differentiate it from competitors like Cinerama and Cinemascope, only to be quickly modified to strict 24fps after just two films.

Because most theaters weren't equipped for either 70mm or 30fps (and certainly not both), Oklahoma! and Around the World in 80 Days were each shot "twice", using 2 cameras. Oklahoma was shot in 65/70mm TODD-AO @ 30fps, and 35mm Cinemascope @ 24fps. Around the World in 80 Days was shot simultaneously in 65/70mm TODD-AO @ 30fps and 24fps. This practice was inefficient and costly. The two camera, two frame-rate experiment was abandoned after those two films--incidentally, the first two TODD-AO features--were released. All TODD-AO productions after 1956 were shot at the traditional 24fps.

Panavision's 65/70mm large format systems, Super Panavision and Ultra Panavision, were designed and first put in use 1-3 years after TODD-AO had already abandoned 30fps. Super Panavision was essentially a copy of TODD-AO (65mm with spherical lenses; a flat 2.20:1 aspect ratio), with one significant difference: it was conceived as a 24fps-only process. Like the Super variant, Ultra Panavision was 65/70 and 24fps-only, but used anamorphic lenses with a 1.25x squeeze (unsqueezed = ultra-wide aspect ratio of 2.76:1).

No Super or Ultra Panavision films were shot at 30fps.

It's a Mad, Mad, Mad, Mad World was shot in Ultra Panavision. In select screenings, the film was projected in single-camera Cinerama using a special 70mm print that was squeezed from the center outward (with the sides of the image more compressed than the center) to better fit the 146° deep curve of the Cinerama screen.

Last edited by Super-VHS; 01-24-2014 at 06:27 PM. Reason: spelling; additional info
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